Oppenheimer was graded by FOTOKEM studios, and the digital version was done by Kostas Theodosiou. As per his own words. "NO additional digital corrections or enhancements were done. Offsets and contrast ONLY were used , in order to keep the integrity of the film In the digital format." so no shaddows and highlights were hurt in the making of the film !
Thank you for this video! I have a bought brand new machine with 128gb of RAM, Nvidia Geforce 4070 Ti Super with 16GB memory, Ryzen 9 7950X3D 16 core and yet, it was lagging in Davinci even in HD which was really annoying. Following the steps you provided, now it does not lag even in 4k footages. Thank you so much! As an addition, another thing that helps, is to use a timeline of 23.976 even if the footage was taken in 24p. I have no explanation why, but it improved my job too.
Joseph Slomka was Film Color Scientist for Oppenheimer, and Kostas Theodosiou was DI Colorist. The film was edited "offline", where proxy files were used in an NLE to generate a timecoded EDL, and that was given to the analog film editor. The only digitized footage to end up in film prints was that used for VFX shots. I saw the film in IMAX, and in my experience, The film has a look somewhere between 90s Kodak and 70s IB Tech during the 65mm color scenes, with a surprising amount of saturation given the subject matter, but a murky green undertone throughout to give it some grit. The IMAX color scenes were very neutral, with somewhat milky blacks, but a well preserved dynamic range with some great color gamut extents. Black and white scenes were more cinematic in 65mm, giving the well defined look of something like "12 Angry Men" whereas IMAX black & white scenes had the look of a high quality darkroom photograph. Overall, I would call the look of Oppenheimer on film "Analog, but not untouched."
I was able to see in only at digital IMAX, and was a bit disappointed. I don't know, maybe they had some technical issues with projectors, but film looked like it was rendered at 6bit color depth with 8 bit dither (look like a cheap DLP projection). Especially awful was color parts, where saturated dark parts of film (like 10 IRE) were jumping back and forth from 10IRE to 0IRE with no middle point, and because there were a lot of saturation in dark area - image were flickering from 10IRE with warm/cold shadows to complete black (that is partially black on a projection screen). Also I was confused a little bit with skin tones, and perfectionist inside of me was struggling between following a story and been getting distracted by over saturated brownish/reddish faces in indoor scenes. Overall look because of all this was strange to say the least. It looked like someone overlayed a 8mm film grain with heavy softening on top on 65mm film scans 0_o and cranked saturation at projection side. Definitely not an IMAX experience I was waited for. On an other hand - storytelling was great, sound was too loud at the dialogs, but (you know when) it was perfect and I got tons of emotions, food for thoughts, true cinema experience (incredibly important message, a lot of thoughts covered by great visuals that was used as a bait for common viewers, with perfect modern iteration of "montage of attractions" theory made popular by Eisenstein at 1920s. And never saw people in cinema who stopped breathing for some time all together and then bounced from their seats so high (you know when) and person next to me was so emotionally tense so it lead to some quality air time after bouncing from the chair and later physically falled back into seat with all body I thought seat will fall apart Definitely a film I will rewatch few times and will disassemble for analysing. Leaving theatre I got a feeling that it was main work of Christofer Nolan and overall was happy that first impression I got in IMAX =) BTH of course I watched Barbie at premier show and watched Oppenheimer in few days (Barbenheimer phenomenon =) ) and I knew right from the start that it would not be a light movie for children, but I was not ready that it will be so strong from all cinema experience: storytelling, messages, acting, directing, production quality, work of DP, colors, sound. Barbenheimer week was highlight of my year!
Nice one Qaz! As for Oppy, it was graded by Kostas Theodosiou, from Fotokem. Although we have effectively three looks in the film (not to make any spoilers let's call them past, present and BnW), as Kostas himself said, only offsets and contrast were used during DI (although by looking at his nodetree I would guess some windows were added for some enhance/dehance re-light). Thus, most of the look comes from coupling the neg and the print stocks (Vision3 and Eastman Dueble-X with 2383 print) along with the photography choices made on set. The look is high con, has to be given how dramatic the film is, high density with rich tones and an interesting split in the tones.
Very helpful. I would add to lower your time line resolution for the time editing and grading and set it back to your desired res right before u going to render it.
Awesome tipps & tricks with high positive impact on day-2-day editing. My biggest learning out of it was the trick with 'ripple node changes to selected clips' which makes it much easier to turn on the node cache for all clips - assuming they all have the same node tree.
Thank you very much for this. I've used Premiere Pro before and by default it is set to have a simultanious automatic and manual render cache. I've missed that feature until I saw that this feature existed in this video. Very helpful, thanks
Dude! Ur setup looks so dope! Those colors pop like crazy ! ! ! Loving the coloured light change, and how you deepened those colors in ur power grade/lut. Looks gr8888
If i remember right, Oppenheimer was not graded at all cause Christopher Nolan hates to have his footage altered and does not trust colorists. It was probably corrected in the lab but not in a Grading Suite Like Resolve.
@@TeipelFilms printer lights are a form of colour grading .. I guess then all he is stating is that they did use the most contemporary approach of colour grading.. but he still colour graded his film though
I turn my noise reduction and sharpness nodes into shared nodes so I can quickly turn them all on or off at the same time for all the clips that can use the same amount of NR and sharpness. Saves a lot of time as well. For the people who want to try that, please note, the moment you turn a node into a shared node, it immediately locks that node. You have to unlock the node before you can make changes to it.
@@dkkeyz8815yes I did, so what? There is nothing said about working with CameraRAW. By default it uses camera metadata for generating proxies, even if I already changed that to "decode using clip" on color page. Therefore, all grading breaks when switching to proxies.
Super helpful! Just atarted working with 6K braw files and hoo boy, goodbye realtime playback! Messed with all of these options, with very mixed results, and this spelled it out clearly. Big thanks!
@theqazman It's pretty impressive in my opinion. That's even with a 4k timeline high res premium shooting R3D. I've only shot in this codec so not sure if anything else would give it hiccups. But it's definitely worth a look. If it doesn't hold up, which I think it would. You can always return it 😆
Good video. However, I think you should explain about cache and projects backup on the harddrive. The reason is if you don't do anything your harddisk will very quickly be filled up!
Thank you sooo much i was fighting with my machine that is so powerful about droping frames used proxy and nothing expressive was repening than boom cache rendering was the trick. This is just what i needed.
422HQ for proxy media is wild unless storage space isn't an issue for you. Your 300mb clip could turn into like 8GB. So wouldn't you be better off setting proxy media to something like 422 Proxy, or DNXHD LB, and then relink to originals for grading? Then just transcode your sequence to 422HQ so you're only uprezzing what you used.
In fair honesty Premerie is smarter in this case, 1/4 quality resolution of the timeline applies only when you actually press play, otherwise you have full quality on the static clip. That is smarter and you don't have to constantly change the settings.
I am editing 6k footage on a computer that is ~$3000 worth, cpu is a mid-range AMD from 5-6 years ago, a motherboard ~4-5 years old, 32GB of fast good quality RAM (no corsair rubbish), and now a 3090 (although I never had an issue with my 2070s either). The footage plays back at full-speed @ full resolution with basic grading. Now I have about 13 hard drives in here striped and mirrored so speed is pretty good, but the acceleration provided by the studio drivers from nvidia for resolve seem to do the job. I am also not using certain plugins that have poor coding (good output, they're just not efficiently made). I would argue against 422 prores, from a coding perspective it isn't great compression/quality-wise and the overhead to decrypt the footage isn't worth it IMO (unless you are on m1 as it has a chip specifically for that). Prores support is also pretty poor on anything other than Apple. But this being said I haven't done benchmarks on the other options. I actually edit directly from my nvme used on the camera, this is where I am using BMRaw which has a very good playback capabilities. The rendercache is a life-saver though, when I was on the free version without the in-edit cuda acceleration, it was brilliant particularly for high-compression 1080p footage that had tons of overhead.
Hi, I follow your channel and I find it very professional and even funny. The truth is that each of your published videos are very good and useful. They are a great contribution for post-producers, especially for those who are starting in this art. I would like to ask you if it is possible for you to add the English subtitles on your own. It happens that the ones generated by default in the platform, usually have inaccuracies and other bugs. That makes the translation into other languages even more chaotic and therefore, part of the information you give is lost. If you could include in your videos, the subtitles corrected by you in YT, it would be a great contribution that will help people with other languages. Really thanks for your great channel and I hope you can help the world community with dozens of other languages. 😁 🙏
Clips at PRACTICE FOOTAGE rendered with baked-in rec709 colour science and resolve color management misinterpret colours for clips. My guess is first clip on a river is Arri wide gamut 4/Arri LogC4 (based on how clip range responds at HDR screen and handle sun clipping I would guess it is 99% correct). Second clip (as we know from tutorial) is from RED, and my best guess is RED Wide Gamut RGB / Log3G10, but if not, I found out it please my eye the most. AND IT LOOKS ABSOLUTELY STUNNING IN HDR! I spend 30 minutes admiring DP work and checking the limits of this amazing footage. RED Wide Gamut RGB / Log3G10 -> HLG on a HDR display looks stunning by itself, but I love more analog look of slightly clipped highlights (from lasers) with glow and washing out blacks by significantly lifting LIFT at about 0.09 with slight green tint - its a nice tradeoff between bright red on a true black and analog feeling, also showing off haze used on set. My respect for DP and whole production crew, such a pleasure to play with this clip
No one really graded it on a screen thats for sure! The Film was never digitalised, so they had to use chemical ways of grading and I think the man himself was highly involved in these processes. Would be really interesting to see which chemicals have what effect on the film. 🙏
IMO Resolve needs a HUGE overhaul in render cash. The moment you start stacking titles clips and transitions it falls to shit. It needs a better system that Premiere and Avid and Final cut have used for over 10 years. Plus a dedicated render button and not sitting around waiting for all the read to disappear without a clue when it will finish. Plus, ever since 18.6 there is a playback transition glitch in between transitions and this is on 3 machines a RTX 4080 RTX 4070 RTX 3070.
Awesome video. If downstream changes don't affect up stream nodes that have already been rendered, would that mean that CPU intensive nodes like noise reduction should always be put early in the chain?
I'm nearly certain you'd gain a lot of performance by just switching to an M2 Max/Ultra. The ProRes acceleration is so good. Sadly those Intel Mac Pros are long in the tooth now.
The person that Graded Oppenheimer is Kostas Theodosiou, senior digital intermediate colorist at Fotokem. The movie kind of have a little Kodak 2383 kind of film look but in a neutral way and some green and blue tint in it. I'm not that good at explaining though 😅
Theodosiou was the DI colorist who matched the digital version to the analog master print. All the creative color decisions were made during the photochemical color timing process which was helmed by Kristen Zimmermann the color timer on Oppenheimer.
I feel this. My i9 13900k with 64gb of ram and RTX 4080 likes to throw me the middle finger anytime I forget to change the timelime proxy resolution or forget to disable relight when when editing.
at the end, correct me if I am wrong, that optimized media and render cache settings are important if you export them or if you need more fluidity while editing or space in your PC. Right? They don't include the export (if you don't activate export render).
You looks like VitalyzdTv I did the generate proxy but after 5 hours of generating no proxy at all... but the good news is that at least with smaller files it works
Hello thanks for the video. Im on PC and dont have Prores 422 HQ as optimized media format or as render cache format. Are these only available on Mac and what would be best for PC in this case? Thanks
Thank you, helpful but very fast, and i am watching on a 17 inch monitor so i have to pause and zoom into to read and see where you are clicking with your mouse. Some tutorials zoom into those areas… again thanks for the post
Ir's possible to set "prefer proxy" only for editing page, and "disable all proxies" on color grading page, without have to change it anytime i change between editing and color grading page?
Just wondering, is the proxy video speed accurate to how fast the video will run on UA-cam? Because my computer is quite slow, and I often get 3-5fps on the proxy.
how can i Generale proxy media for the Clips which are in timeline. When I select them I can Generale optimized media but not proxy media. What is better, Proxy oder optimized media?
I have a good PC, but whenever I work with camera original clips, it's always laggy, and I often end up freezing my system, which results in having to restart the software all the time. I never knew about what you just showed. Thanks so much!
What is your PC specs? I have Intel i7 13700k 64GB DDR5 RAM RTX4080 and fast Samsung 990pro SSDs 7.5K read and write. Blackmagic 6K RAW smooth like butter.
@@TomasRamoska If you apply some noise reduction (even built-in in resolve), do some halation and and tracking masks and heavy grading it will still run smooth like butter in real-time with original media? Also when you need heavy duty noise reduction (like neat video) there is no way you will have realtime without pre-rendering noise reduction at full res. Or you do have? Never saw 4080 in person, curios. Moved to M1 Max Mac and kinda happy for its price
@heatherplumtree I was looping today a 6K BRAW file with: Temporal noise reduction Frames - 5 Motion est. type - Better Motion range - 5 Set the Threshold to 50 Put some secondary corrections Colour warper and curves. Still no dropped frames but GPU works overtime about 80% utilisation 😅 The footage is 24fps not much more headroom left I probably can do 30fps max. 60fps out of the questions at this kind of resolution.
@@TomasRamoska wow, yeah, workstation is a beast :) I checked my MBP m1 max 16” with 32gb unified memory, 4k prores 422 hq works fine with temporary NR with max settings, some color correction nodes, glow, and I have 16-20 fps with full resolution, which is fare for a laptop :) I get tired of crashes on PC and decided to move resolve to mac completely, since it is easier to transport (I left my workstation and display in another country), have really powerful hardware for its size, kinda cost effective, will never ever encounter “low gpu memory” error due to 32gb unified ram, and have a truly decent liquid retina HDR 16 screen, that have just a little but less resolution than 4k, but produce perfect black, acceptable halo around brigt object (can be seen on a extreme angles on a black background with white mouse pointer, more or less like CANON HDR broadcast display for 10 times less money) is capable of 1000 nit easily, have built-in colour profiles (good enough), amazing coverage of p3 color space and can be used with HLG/2020 oetf and colour gamut. Using lcd TV as main screen I send clean feed to built-in mbp screen and have almost perfect intermediate level colour grading station. Can be paired with proper SSD or used with NAS/DAS via usb 3.1/thunderbolt. At the moment I consider ordering 100 bucks small 11/13 inch display with USB connection from china for having a dedicated screen for x4 scopes. Overall - I can’t complain. Maybe some time in the future I will move back to more powerful PC workstation with Nvidia GPU, but it is a goal if I will get really huge amount of grading job, which will not happen soon. But I can highly recommend mbp 16 on m1/m2/m3 chips for Davinci Resolve as a mobile/desktop intermediate level solution
3 different ways is confusing. Should I pick one? Use them all? I did what you said methodically and the playback is still unusable. Premiere out the box performs so much better, fuck adobe though.
When I right click clip name to get the drop down after generating proxy media and I check the boxes that say proxy, proxy media path, and online status the online status isnt changed in the media pool.
The render cache in DaVinci is still unusable for a lot of usecases, especially if you are dealing with heavy realtime transition effects. If you are working on a music video with 30 tracks and cuts/transitions every 3-4 seconds you need to play back those cuts in realtime. Usually that does do not work in native resolution, so you will use quarter timeline proxy resolution and maybe also render quarter proxy files, which are fine for 4K editing. The issue becomes apparent when some of your cuts with vfx transitions do not play back in realtime even using quarter resolution. So you need to use the render cache to play back those scenes. To do that you need to switch to full resolution first and then the render cache is created and you can play back in realtime. So far so good. But now you need to continue editing the next scenes, so you switch back to quarter resolution. Some of the cuts will play back smoothly, others again have too heavy transitions effects. So you need to use the render cache again and get back to full resolution. The problem is, that once you get back to quarter resolution and want to playback the previous couple of seconds which should include the pre-rendered transitions, the render cache is simply ignored. You need to render everything in full resolution, even those scenes which do play back smoothly in quarter resolution. While editing a music video you constantly need to do a few cuts, go back 10 seconds and play back again. It is not possible to fast edit a video with a lot of vfx transitions in DaVinci without permanently switching back between quarter and full resolution, rendering whole areas again and again. This whole process is ten times faster in Adobe Premiere. Once you have pre-rendered an area it will play back smoothly no matter which proxy resolution you are using. This issue is known by the Blackmagic support, but they do seem to ignore this. We love to use DaVinci, but for the music videos we edit it sometimes is like hell to work with. Why is there no option to have a full resolution still for color grading, even if you have switched to a lower timeline resolution ? Once you play back it switches to proxy timeline resolution and when the playback is done you will see the full rendered image to do color grading. Another major issue is the fact, that the masks are never not fully rendered during an export without any notice or error message. Usually the first export just ignores 70% of all masks and we need to export the clips several times and check every single mask again and again to make sure its used in the final export file.
It's interesting that you say the process is 10 times faster in Premiere when the only video you have posted on your page is one about how terrible Premiere Pro is. 😆
@@spearcyha, yes, you're right. We switched to DaVinci for our productions for a reason, since Premiere became totally unusable for complex projects. Nevertheless, that has nothing to do with the flaws of DaVinci, so we were quite frustrated that preview-rending, despite the fact that the concept of DaVinci is better, simply does not work as good as in Premiere.
@@lensflareclips It's definitely essential to be able to preview in real-time, especially when there are a lot of cuts and effects throughout the video. It worries me if Davinci won't be able to handle that, because I just started using Davinci and never had that problem in Final Cut Pro. The problem in FCP is that there are no speed graphs and the effects are very limited. I've tried the others, too. Wiith After Effects, the problem is that you can only work on little sections at a time. And with Premiere, all the good stuff is in After Effects. If only they can combine those. I thought Davinci would be the closest thing to a combo of After Effects and Premiere.
@@spearcyi think DaVinci has the potential to combine a lot of things that needed to be done in Premiere and After Effects separately. It was quite a risk to switch from Premiere to DaVinci for us, almost inbetween several music video productions, but we simply could not continue to work in Premiere anymore and needed to find a good solution. We really love to work with DaVinci, except for the realtime/edit preview issue (and the tracking export) we have, and it wonders me why this is not discussed anywhere else. I guess our usecase is kind of unique, since we usually have about 30-40 tracks for a music videos and up to three/four effects incl. transitions being applied to certain scenes. Those effects cannot be played back in realtime even with proxy quarter resolution. Switching to full resolution and pre-render the scenes play back and then switch back to quarter resolution for editing all the time back and forth is not a good workflow. Regardless of these problems we already produced about 10-15 clips with DaVinci, so we're pretty much very deep into using it already. I think we have to deal with those issues for now and get faster GPUs, but we may also try to contact the support again and let them know about this issue and the importance. Maybe we're recording another demonstration clip again. In fact we already did when we first contacted the support, but we never officially published it, because we used clips from an unfinished production at the time.
@@lensflareclips Hopefully faster GPUs than whatever you're using now will make a difference. It seems like a 3090 or more should be plenty for serious Davinci editing. Yes, real-time playback problems would make it unreasonably burdensome to get the look the way you want it. I mean, even if you pre-render, then if you don't like how that came out, you'd still have to guess what your change is going to look like until you pre-render with that change. That would be a crazy way to have to do it.
You missed to say that with proxy edia you need an extra room in your house full of storage ahahah and the smart render cache most of the time is not so smart and render partial of fusion fooages, so you have to disengage and re-angage lot of time cause otherwise your playback will be full of total black jump cut.
Oppenheimer was graded by FOTOKEM studios, and the digital version was done by Kostas Theodosiou. As per his own words. "NO additional digital corrections or enhancements were done. Offsets and contrast ONLY were used , in order to keep the integrity of the film In the digital format."
so no shaddows and highlights were hurt in the making of the film !
Clear and concise. My man. ✊🏾
"Graded by FOTOKEM"... you understand the term graded right?
@@glenwaynethomas no please explain
@@glenwaynethomas Yeah, please explain?
@@kuski English not your first language?
Thank you for this video! I have a bought brand new machine with 128gb of RAM, Nvidia Geforce 4070 Ti Super with 16GB memory, Ryzen 9 7950X3D 16 core and yet, it was lagging in Davinci even in HD which was really annoying. Following the steps you provided, now it does not lag even in 4k footages. Thank you so much!
As an addition, another thing that helps, is to use a timeline of 23.976 even if the footage was taken in 24p. I have no explanation why, but it improved my job too.
Joseph Slomka was Film Color Scientist for Oppenheimer, and Kostas Theodosiou was DI Colorist. The film was edited "offline", where proxy files were used in an NLE to generate a timecoded EDL, and that was given to the analog film editor. The only digitized footage to end up in film prints was that used for VFX shots.
I saw the film in IMAX, and in my experience, The film has a look somewhere between 90s Kodak and 70s IB Tech during the 65mm color scenes, with a surprising amount of saturation given the subject matter, but a murky green undertone throughout to give it some grit. The IMAX color scenes were very neutral, with somewhat milky blacks, but a well preserved dynamic range with some great color gamut extents. Black and white scenes were more cinematic in 65mm, giving the well defined look of something like "12 Angry Men" whereas IMAX black & white scenes had the look of a high quality darkroom photograph.
Overall, I would call the look of Oppenheimer on film "Analog, but not untouched."
I was able to see in only at digital IMAX, and was a bit disappointed. I don't know, maybe they had some technical issues with projectors, but film looked like it was rendered at 6bit color depth with 8 bit dither (look like a cheap DLP projection). Especially awful was color parts, where saturated dark parts of film (like 10 IRE) were jumping back and forth from 10IRE to 0IRE with no middle point, and because there were a lot of saturation in dark area - image were flickering from 10IRE with warm/cold shadows to complete black (that is partially black on a projection screen).
Also I was confused a little bit with skin tones, and perfectionist inside of me was struggling between following a story and been getting distracted by over saturated brownish/reddish faces in indoor scenes.
Overall look because of all this was strange to say the least. It looked like someone overlayed a 8mm film grain with heavy softening on top on 65mm film scans 0_o and cranked saturation at projection side.
Definitely not an IMAX experience I was waited for.
On an other hand - storytelling was great, sound was too loud at the dialogs, but (you know when) it was perfect and I got tons of emotions, food for thoughts, true cinema experience (incredibly important message, a lot of thoughts covered by great visuals that was used as a bait for common viewers, with perfect modern iteration of "montage of attractions" theory made popular by Eisenstein at 1920s. And never saw people in cinema who stopped breathing for some time all together and then bounced from their seats so high (you know when) and person next to me was so emotionally tense so it lead to some quality air time after bouncing from the chair and later physically falled back into seat with all body I thought seat will fall apart
Definitely a film I will rewatch few times and will disassemble for analysing.
Leaving theatre I got a feeling that it was main work of Christofer Nolan and overall was happy that first impression I got in IMAX =)
BTH of course I watched Barbie at premier show and watched Oppenheimer in few days (Barbenheimer phenomenon =) ) and I knew right from the start that it would not be a light movie for children, but I was not ready that it will be so strong from all cinema experience: storytelling, messages, acting, directing, production quality, work of DP, colors, sound.
Barbenheimer week was highlight of my year!
Nice one Qaz! As for Oppy, it was graded by Kostas Theodosiou, from Fotokem. Although we have effectively three looks in the film (not to make any spoilers let's call them past, present and BnW), as Kostas himself said, only offsets and contrast were used during DI (although by looking at his nodetree I would guess some windows were added for some enhance/dehance re-light). Thus, most of the look comes from coupling the neg and the print stocks (Vision3 and Eastman Dueble-X with 2383 print) along with the photography choices made on set. The look is high con, has to be given how dramatic the film is, high density with rich tones and an interesting split in the tones.
My man. Proud to have you in FCM. Beautifully put. ✊🏾
Learned so much and forgot it all. Love the content. ❤🎉
cause there is nothing to learn, except the guy selling course packages.
@@FriendlyPCGamers he makes things complex just to milk money i had the whole course very repetitive
This is by far the best video regarding this topic in DaVinci Resolve!
This one deserve 1 milli!
🙏🏽 and let's hope. 😀
Very helpful.
I would add to lower your time line resolution for the time editing and grading and set it back to your desired res right before u going to render it.
Straight out of my Masterclass. That's a good one.
Awesome tipps & tricks with high positive impact on day-2-day editing. My biggest learning out of it was the trick with 'ripple node changes to selected clips' which makes it much easier to turn on the node cache for all clips - assuming they all have the same node tree.
This guy is my man.. i get so happy when i search and find him
Nosssaaaaa.... que bixonaaaaa!!!1
I think there is one more. Maybe even the most important one and that is to actually change timeline resolution in the project settings to 1080p.
That's a good one but again more for editing than grading.
Christopher Nolan graded the movie himself using a chemical film process🤪
Me if I lied on the internet
with his left hand only while juggling oranges with the right han…
The render cache fusion output just saved a part of my project ! I was desperate… THANK YOU !!
Can't wait to try these tips!
Thank you very much for this. I've used Premiere Pro before and by default it is set to have a simultanious automatic and manual render cache. I've missed that feature until I saw that this feature existed in this video. Very helpful, thanks
Dude! Ur setup looks so dope! Those colors pop like crazy ! ! !
Loving the coloured light change, and how you deepened those colors in ur power grade/lut. Looks gr8888
Haha. Thank you, brother.
@@theqazman How much of the AI face smoothing and eye sharpening was used?
If i remember right, Oppenheimer was not graded at all cause Christopher Nolan hates to have his footage altered and does not trust colorists. It was probably corrected in the lab but not in a Grading Suite Like Resolve.
No movie is never not graded. Don't let them tell you otherwise. 😜
@@theqazman according to Cullen Kelly it was only altered in the lab using basic Printer Lights.
@@TeipelFilms printer lights are a form of colour grading .. I guess then all he is stating is that they did use the most contemporary approach of colour grading.. but he still colour graded his film though
To save you some time: turn off noise reduction node until you render. Same as you already do.
I turn my noise reduction and sharpness nodes into shared nodes so I can quickly turn them all on or off at the same time for all the clips that can use the same amount of NR and sharpness. Saves a lot of time as well. For the people who want to try that, please note, the moment you turn a node into a shared node, it immediately locks that node. You have to unlock the node before you can make changes to it.
@@StoneEdges you can also use "timeline node" vs clip nodes.
Will look into that!
@@StoneEdges this is the way.
The problem with proxies is that they don't reflect the changes in RAW files, so if you're changing WB or exposure drastically, they are of no use
wtf are you serious
Did you watch the video?
@@dkkeyz8815yes I did, so what? There is nothing said about working with CameraRAW. By default it uses camera metadata for generating proxies, even if I already changed that to "decode using clip" on color page. Therefore, all grading breaks when switching to proxies.
Super helpful! Just atarted working with 6K braw files and hoo boy, goodbye realtime playback! Messed with all of these options, with very mixed results, and this spelled it out clearly. Big thanks!
Happy to help
Phenomenal! My M2 Mac Studio Ultra plays back even with NR at 24fps.
Really? I have been meaning to pull the trigger but hearing super missed reviews.
@theqazman It's pretty impressive in my opinion. That's even with a 4k timeline high res premium shooting R3D. I've only shot in this codec so not sure if anything else would give it hiccups. But it's definitely worth a look. If it doesn't hold up, which I think it would. You can always return it 😆
Good video. However, I think you should explain about cache and projects backup on the harddrive. The reason is if you don't do anything your harddisk will very quickly be filled up!
One of the best vids out there, and I've seen allot of them. Thumbs up!
Ty
Thanks for this video. Amazingly professional and useful. 🙏
Thank you sooo much i was fighting with my machine that is so powerful about droping frames used proxy and nothing expressive was repening than boom cache rendering was the trick. This is just what i needed.
Super clear explaination! Music was a bit loud for me though personally
Thank you!
422HQ for proxy media is wild unless storage space isn't an issue for you. Your 300mb clip could turn into like 8GB. So wouldn't you be better off setting proxy media to something like 422 Proxy, or DNXHD LB, and then relink to originals for grading? Then just transcode your sequence to 422HQ so you're only uprezzing what you used.
In fair honesty Premerie is smarter in this case, 1/4 quality resolution of the timeline applies only when you actually press play, otherwise you have full quality on the static clip. That is smarter and you don't have to constantly change the settings.
I agree
I am editing 6k footage on a computer that is ~$3000 worth, cpu is a mid-range AMD from 5-6 years ago, a motherboard ~4-5 years old, 32GB of fast good quality RAM (no corsair rubbish), and now a 3090 (although I never had an issue with my 2070s either). The footage plays back at full-speed @ full resolution with basic grading. Now I have about 13 hard drives in here striped and mirrored so speed is pretty good, but the acceleration provided by the studio drivers from nvidia for resolve seem to do the job. I am also not using certain plugins that have poor coding (good output, they're just not efficiently made).
I would argue against 422 prores, from a coding perspective it isn't great compression/quality-wise and the overhead to decrypt the footage isn't worth it IMO (unless you are on m1 as it has a chip specifically for that). Prores support is also pretty poor on anything other than Apple. But this being said I haven't done benchmarks on the other options.
I actually edit directly from my nvme used on the camera, this is where I am using BMRaw which has a very good playback capabilities. The rendercache is a life-saver though, when I was on the free version without the in-edit cuda acceleration, it was brilliant particularly for high-compression 1080p footage that had tons of overhead.
Hi, I follow your channel and I find it very professional and even funny. The truth is that each of your published videos are very good and useful.
They are a great contribution for post-producers, especially for those who are starting in this art.
I would like to ask you if it is possible for you to add the English subtitles on your own.
It happens that the ones generated by default in the platform, usually have inaccuracies and other bugs. That makes the translation into other languages even more chaotic and therefore, part of the information you give is lost.
If you could include in your videos, the subtitles corrected by you in YT, it would be a great contribution that will help people with other languages.
Really thanks for your great channel and I hope you can help the world community with dozens of other languages.
😁
🙏
Very good content. I just wonder that when I export my project, do I need to turn off the cache? Thanks
No
ProRess 422 HQ doesn't show up for me as optimised media and cache formats. Are those reserved for specific camera codecs?
Clips at PRACTICE FOOTAGE rendered with baked-in rec709 colour science and resolve color management misinterpret colours for clips.
My guess is first clip on a river is Arri wide gamut 4/Arri LogC4 (based on how clip range responds at HDR screen and handle sun clipping I would guess it is 99% correct). Second clip (as we know from tutorial) is from RED, and my best guess is RED Wide Gamut RGB / Log3G10, but if not, I found out it please my eye the most. AND IT LOOKS ABSOLUTELY STUNNING IN HDR! I spend 30 minutes admiring DP work and checking the limits of this amazing footage. RED Wide Gamut RGB / Log3G10 -> HLG on a HDR display looks stunning by itself, but I love more analog look of slightly clipped highlights (from lasers) with glow and washing out blacks by significantly lifting LIFT at about 0.09 with slight green tint - its a nice tradeoff between bright red on a true black and analog feeling, also showing off haze used on set.
My respect for DP and whole production crew, such a pleasure to play with this clip
Hes a really good teacher thats a sub
This is gold content! Thanks for all
No one really graded it on a screen thats for sure! The Film was never digitalised, so they had to use chemical ways of grading and I think the man himself was highly involved in these processes.
Would be really interesting to see which chemicals have what effect on the film. 🙏
IMO Resolve needs a HUGE overhaul in render cash. The moment you start stacking titles clips and transitions it falls to shit. It needs a better system that Premiere and Avid and Final cut have used for over 10 years. Plus a dedicated render button and not sitting around waiting for all the read to disappear without a clue when it will finish. Plus, ever since 18.6 there is a playback transition glitch in between transitions and this is on 3 machines a RTX 4080 RTX 4070 RTX 3070.
Awesome work as Always !!!
Thank you so much !!!
Awesome video. If downstream changes don't affect up stream nodes that have already been rendered, would that mean that CPU intensive nodes like noise reduction should always be put early in the chain?
Man make one tutorial on your editing process those graphics are sick !!
🙏🏽 I'll definitely think about it.
Love you qazi, thanks, that render cache setting is a life changer
It is. Happy to help, brother. ♥️
Well this is what all the time i used to do except the lowering the resolution of the timeline 😅
i had joined the webinar this morning everything 's great, but i did not have the link to download the footage to practice and nodtree
strange bug is when you drop your timeline proxy resolution from full all fusion text effect run slower than when its at full resolution.
What's the difference between generating proxies vs generating optimized media and are there advantages using one or the other?
Man I needed this video today. Thank You!
I'm nearly certain you'd gain a lot of performance by just switching to an M2 Max/Ultra. The ProRes acceleration is so good. Sadly those Intel Mac Pros are long in the tooth now.
Finally! Thanks man! 🙏
thank you man,
it was my first video here
And I really enjoyed it
subscribed since around 2016 or 17 bro and loving ur stuff learned so much from u
Brother is active in a system of Davince Studio. If you deactivate it and activate it in another system then it will be done.
The person that Graded Oppenheimer is Kostas Theodosiou, senior digital intermediate colorist at Fotokem. The movie kind of have a little Kodak 2383 kind of film look but in a neutral way and some green and blue tint in it. I'm not that good at explaining though 😅
Theodosiou was the DI colorist who matched the digital version to the analog master print. All the creative color decisions were made during the photochemical color timing process which was helmed by Kristen Zimmermann the color timer on Oppenheimer.
@@ricodomonkos3053 😂😂
I feel this. My i9 13900k with 64gb of ram and RTX 4080 likes to throw me the middle finger anytime I forget to change the timelime proxy resolution or forget to disable relight when when editing.
was always lost about render cache
thanks a lot for the detailed video!!!
at the end, correct me if I am wrong, that optimized media and render cache settings are important if you export them or if you need more fluidity while editing or space in your PC. Right? They don't include the export (if you don't activate export render).
Excellent explanation. Thank you.
When should i generate proxies? IN the beginning of every single project?
great video! worked awesome for me, that was dope! thanks🙌
You're welcome.
Thank you for the great information!
You looks like VitalyzdTv I did the generate proxy but after 5 hours of generating no proxy at all... but the good news is that at least with smaller files it works
M1 16Gb 4K 50hz Sony footage, works fine with full resolution except if you reduce noise
Thanks for this! Might just save me a computer upgrade!
I smashed that like button as hard as I could 👍👍👍👍
Haha. My man. ✊🏾
Thank you for this, excellent content
Hello thanks for the video. Im on PC and dont have Prores 422 HQ as optimized media format or as render cache format. Are these only available on Mac and what would be best for PC in this case? Thanks
Great video...definitely above my pay-grade currently!!! 🤣🤣🤣
why dont you put the camera infront of you so you dont have to turn around >?
Thnx Qazi!
What about generating optimized media? A bit different from proxies
Thank you, helpful but very fast, and i am watching on a 17 inch monitor so i have to pause and zoom into to read and see where you are clicking with your mouse. Some tutorials zoom into those areas… again thanks for the post
Ir's possible to set "prefer proxy" only for editing page, and "disable all proxies" on color grading page, without have to change it anytime i change between editing and color grading page?
Just wondering, is the proxy video speed accurate to how fast the video will run on UA-cam? Because my computer is quite slow, and I often get 3-5fps on the proxy.
Learned so much from that. Great examples! Thankyou!
Thanks for the video Proxy resolution was at full for me lol
Really needed this, editing a short film and Resolve is failing me.
Happy to help
so when we grade better use playback as original file rather than proxy file right ?
WOW amazing thank you so much
Why don't I have ProRes422HQ in Proxy Media Format? :(((
Strong Video! Thanks!
Of course
Super informative! Thanks bro
Happy to help, brother. 💪🏾
hey Waqas, what is the name of those sweet brush elements you use to highlight parts of the video?
Excellent, clear, well-taught tutorial. Thanks
🙏🏽
Awesome!
My computer is less then 1000$ one and my Davinci Resolve never crashed and Works fast
very useful, thanks pal.
I don't have pro res 422 HQ as a option for my proxy settings, why is that?
I shoot with canon m50 and Iphone 15 pro max if that matters.
how can i Generale proxy media for the Clips which are in timeline. When I select them I can Generale optimized media but not proxy media. What is better, Proxy oder optimized media?
Can you show us how to get CIN city look ? :)
Really useful tips, thanks!!
I have a good PC, but whenever I work with camera original clips, it's always laggy, and I often end up freezing my system, which results in having to restart the software all the time. I never knew about what you just showed. Thanks so much!
This should help a ton.
What is your PC specs?
I have Intel i7 13700k
64GB DDR5 RAM
RTX4080
and fast Samsung 990pro SSDs
7.5K read and write.
Blackmagic 6K RAW smooth like butter.
@@TomasRamoska If you apply some noise reduction (even built-in in resolve), do some halation and and tracking masks and heavy grading it will still run smooth like butter in real-time with original media?
Also when you need heavy duty noise reduction (like neat video) there is no way you will have realtime without pre-rendering noise reduction at full res. Or you do have?
Never saw 4080 in person, curios. Moved to M1 Max Mac and kinda happy for its price
@heatherplumtree I was looping today a 6K BRAW file with:
Temporal noise reduction
Frames - 5
Motion est. type - Better
Motion range - 5
Set the Threshold to 50
Put some secondary corrections
Colour warper and curves.
Still no dropped frames but GPU works overtime about 80% utilisation 😅
The footage is 24fps not much more headroom left I probably can do 30fps max. 60fps out of the questions at this kind of resolution.
@@TomasRamoska wow, yeah, workstation is a beast :)
I checked my MBP m1 max 16” with 32gb unified memory, 4k prores 422 hq works fine with temporary NR with max settings, some color correction nodes, glow, and I have 16-20 fps with full resolution, which is fare for a laptop :)
I get tired of crashes on PC and decided to move resolve to mac completely, since it is easier to transport (I left my workstation and display in another country), have really powerful hardware for its size, kinda cost effective, will never ever encounter “low gpu memory” error due to 32gb unified ram, and have a truly decent liquid retina HDR 16 screen, that have just a little but less resolution than 4k, but produce perfect black, acceptable halo around brigt object (can be seen on a extreme angles on a black background with white mouse pointer, more or less like CANON HDR broadcast display for 10 times less money) is capable of 1000 nit easily, have built-in colour profiles (good enough), amazing coverage of p3 color space and can be used with HLG/2020 oetf and colour gamut.
Using lcd TV as main screen I send clean feed to built-in mbp screen and have almost perfect intermediate level colour grading station. Can be paired with proper SSD or used with NAS/DAS via usb 3.1/thunderbolt. At the moment I consider ordering 100 bucks small 11/13 inch display with USB connection from china for having a dedicated screen for x4 scopes.
Overall - I can’t complain.
Maybe some time in the future I will move back to more powerful PC workstation with Nvidia GPU, but it is a goal if I will get really huge amount of grading job, which will not happen soon.
But I can highly recommend mbp 16 on m1/m2/m3 chips for Davinci Resolve as a mobile/desktop intermediate level solution
Should render cache be disabled when I'm already saving a video (ready)?
3 different ways is confusing. Should I pick one? Use them all? I did what you said methodically and the playback is still unusable. Premiere out the box performs so much better, fuck adobe though.
Hi there I was wondering would Rtx 4070OC be good for tracking because the 4070Ti for 4k is out of my budget
When I right click clip name to get the drop down after generating proxy media and I check the boxes that say proxy, proxy media path, and online status the online status isnt changed in the media pool.
If you could please help I'd be thrilled. Great vid btw
The render cache in DaVinci is still unusable for a lot of usecases, especially if you are dealing with heavy realtime transition effects. If you are working on a music video with 30 tracks and cuts/transitions every 3-4 seconds you need to play back those cuts in realtime. Usually that does do not work in native resolution, so you will use quarter timeline proxy resolution and maybe also render quarter proxy files, which are fine for 4K editing. The issue becomes apparent when some of your cuts with vfx transitions do not play back in realtime even using quarter resolution. So you need to use the render cache to play back those scenes. To do that you need to switch to full resolution first and then the render cache is created and you can play back in realtime. So far so good.
But now you need to continue editing the next scenes, so you switch back to quarter resolution. Some of the cuts will play back smoothly, others again have too heavy transitions effects. So you need to use the render cache again and get back to full resolution. The problem is, that once you get back to quarter resolution and want to playback the previous couple of seconds which should include the pre-rendered transitions, the render cache is simply ignored. You need to render everything in full resolution, even those scenes which do play back smoothly in quarter resolution. While editing a music video you constantly need to do a few cuts, go back 10 seconds and play back again.
It is not possible to fast edit a video with a lot of vfx transitions in DaVinci without permanently switching back between quarter and full resolution, rendering whole areas again and again. This whole process is ten times faster in Adobe Premiere. Once you have pre-rendered an area it will play back smoothly no matter which proxy resolution you are using. This issue is known by the Blackmagic support, but they do seem to ignore this. We love to use DaVinci, but for the music videos we edit it sometimes is like hell to work with.
Why is there no option to have a full resolution still for color grading, even if you have switched to a lower timeline resolution ? Once you play back it switches to proxy timeline resolution and when the playback is done you will see the full rendered image to do color grading.
Another major issue is the fact, that the masks are never not fully rendered during an export without any notice or error message. Usually the first export just ignores 70% of all masks and we need to export the clips several times and check every single mask again and again to make sure its used in the final export file.
It's interesting that you say the process is 10 times faster in Premiere when the only video you have posted on your page is one about how terrible Premiere Pro is. 😆
@@spearcyha, yes, you're right. We switched to DaVinci for our productions for a reason, since Premiere became totally unusable for complex projects. Nevertheless, that has nothing to do with the flaws of DaVinci, so we were quite frustrated that preview-rending, despite the fact that the concept of DaVinci is better, simply does not work as good as in Premiere.
@@lensflareclips It's definitely essential to be able to preview in real-time, especially when there are a lot of cuts and effects throughout the video. It worries me if Davinci won't be able to handle that, because I just started using Davinci and never had that problem in Final Cut Pro. The problem in FCP is that there are no speed graphs and the effects are very limited. I've tried the others, too. Wiith After Effects, the problem is that you can only work on little sections at a time. And with Premiere, all the good stuff is in After Effects. If only they can combine those. I thought Davinci would be the closest thing to a combo of After Effects and Premiere.
@@spearcyi think DaVinci has the potential to combine a lot of things that needed to be done in Premiere and After Effects separately. It was quite a risk to switch from Premiere to DaVinci for us, almost inbetween several music video productions, but we simply could not continue to work in Premiere anymore and needed to find a good solution.
We really love to work with DaVinci, except for the realtime/edit preview issue (and the tracking export) we have, and it wonders me why this is not discussed anywhere else. I guess our usecase is kind of unique, since we usually have about 30-40 tracks for a music videos and up to three/four effects incl. transitions being applied to certain scenes. Those effects cannot be played back in realtime even with proxy quarter resolution. Switching to full resolution and pre-render the scenes play back and then switch back to quarter resolution for editing all the time back and forth is not a good workflow. Regardless of these problems we already produced about 10-15 clips with DaVinci, so we're pretty much very deep into using it already.
I think we have to deal with those issues for now and get faster GPUs, but we may also try to contact the support again and let them know about this issue and the importance. Maybe we're recording another demonstration clip again. In fact we already did when we first contacted the support, but we never officially published it, because we used clips from an unfinished production at the time.
@@lensflareclips Hopefully faster GPUs than whatever you're using now will make a difference. It seems like a 3090 or more should be plenty for serious Davinci editing. Yes, real-time playback problems would make it unreasonably burdensome to get the look the way you want it. I mean, even if you pre-render, then if you don't like how that came out, you'd still have to guess what your change is going to look like until you pre-render with that change. That would be a crazy way to have to do it.
You missed to say that with proxy edia you need an extra room in your house full of storage ahahah and the smart render cache most of the time is not so smart and render partial of fusion fooages, so you have to disengage and re-angage lot of time cause otherwise your playback will be full of total black jump cut.
Big fan sir 🙌🙌
My project settings 422 HQ does not exist? did this get updated out? I have 18 studio
How can I get full resolution AND full frame rate ?
Super helpful video 👏🏻
Thank you, thank you, thank you!!!!!